Identifier: engravingetching00lipp (find matches)
Title: Engraving and etching : a handbook for the use of students and print collectors
Year: 1907 (1900s)
Authors: Lippmann, Friedrich, 1839-1903 Lehrs, Max, 1855-1938 Hardie, Martin, 1875-1952
Subjects: Engraving -- History Etching -- History
Publisher: New York : C. Scribner's Sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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Fig. 9. The Flagellation of Christ, of 1446. Cards is so called because his artistic skill was first employedon designs for a pack of cards (fig. lo). As draughts-man and as engraver he ranks essentially higher thanthe designer of the Passion of 1446. Engravings such asthe Martyrdom of St. Catherine, some Madonnas, and the: PLAYING-CARDS 19 figures on the playing-cards, display him as a capable artistwith a strong grasp of design. The movement of his
Text Appearing After Image:
Fig. 10. The Master of the Playing-cards : a King. figures is intelligent and clearly expressed, his drawing isindividual and powerful, the features of his well-formedheads successfully rendered. With a visibly practised 20 GERMAN ENGRAVING TO 1528 hand he lays firm outHnes on the copper, and expressesthe details and the modelling by means of short, closestrokes, laid vertically and without cross-hatching. In the case of the Madonna with the mark of a Gothic^ and the date 1451 (Pass. II., p. 6), a print oftenmentioned in recent art literature, both monogram anddate have been demonstrated to be a modern forgery,added to a German engraving which does actually belongto the earliest period of the art. An example of the printwithout the mark and the date is to be found in thelibrary of the Palazzo Riccardi at Florence. A Holy Trinity (Munich Library) simply butpowerfully executed bears the manuscript date 1462. Tothe early days of engraving must also be ascribed thework of the * Master of

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